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A history of German film dealing with individual films as works of art has long been needed. Existing histories tend to treat cinema as an economic rather than an aesthetic phenomenon; earlier surveys that do engage with individual films do not include films of recent decades. This book treats representative films from the beginnings of German film to the present. Providing historical context through an introduction and interchapters preceding the treatments of each era's films, the volume is suitable for semester- or year-long survey courses and for anyone with an interest in German cinema. The films: The Student of Prague - The Cabinet of Dr. Caligari - The Last Laugh - Metropolis - The Blue Angel - M - Triumph of the Will - The Great Love - The Murderers Are among Us - Sun Seekers - Trace of Stones - The Legend of Paul and Paula - Solo Sunny - The Bridge - Young T rless - Aguirre, The Wrath of God - Germany in Autumn - The Marriage of Maria Braun - The Tin Drum - Marianne and Juliane - Wings of Desire - Maybe, Maybe Not - Rossini - Run Lola Run - Good Bye Lenin - Head On - The Lives of Others Stephen Brockmann is Professor of German at Carnegie Mellon University and past President of the German Studies Assocation.
This comprehensively revised, updated and significantly extended edition introduces German film history from its beginnings to the present day, covering key periods and movements including early and silent cinema, Weimar cinema, Nazi cinema, the New German Cinema, the Berlin School, the cinema of migration, and moving images in the digital era. Contributions by leading international scholars are grouped into sections that focus on genre; stars; authorship; film production, distribution and exhibition; theory and politics, including women's and queer cinema; and transnational connections. Spotlight articles within each section offer key case studies, including of individual films that illuminate larger histories (Heimat, Downfall, The Lives of Others, The Edge of Heaven and many more); stars from Ossi Oswalda and Hans Albers, to Hanna Schygulla and Nina Hoss; directors including F.W. Murnau, Walter Ruttmann, Wim Wenders and Helke Sander; and film theorists including Siegfried Kracauer and Béla Balázs. The volume provides a methodological template for the study of a national cinema in a transnational horizon.
This volume tells the story of the cinema of Germany in 24 essays, each concerning an individual film, in a fresh and concise way. It describes a 'national' film industry which successfully met the demand of a 'national' audience from the 1910s to the 1960s. The book represents this system by focusing on films which were very popular with contemporary German audiences such as Metropolis (1927), Three from the Filling Station (1930), The Great Love (1942), The Heath is Green (1951) and The Treasure of Silver Lake (1962). As a consequence of World War II, the system of popular German cinema declined during the 1960s and early 1970s. Films from these decades such as Yesterday Girl (1966) and Germany in Autumn (1978) broke with the film form as well as with the mode of production that the popular narrative cinema had established. From the 1980s on, a new generation has tried to re-establish a popular German cinema with films such as The Boat (1981), Run Lola Run (1998) and Goodbye Lenin! (2003).
An essential work of the cinematic history of the Weimar Republic by a leading figure of film criticism First published in 1947, From Caligari to Hitler remains an undisputed landmark study of the rich cinematic history of the Weimar Republic. Prominent film critic Siegfried Kracauer examines German society from 1921 to 1933, in light of such movies as The Cabinet of Dr. Caligari, M, Metropolis, and The Blue Angel. He explores the connections among film aesthetics, the prevailing psychological state of Germans in the Weimar era, and the evolving social and political reality of the time. Kracauer makes a startling (and still controversial) claim: films as popular art provide insight into the unconscious motivations and fantasies of a nation. With a critical introduction by Leonardo Quaresima which provides context for Kracauer’s scholarship and his contributions to film studies, this Princeton Classics edition makes an influential work available to new generations of cinema enthusiasts.
"German Through Film" is designed to be a flexible tool for teachers who strive towards content-based instruction and believe that learning a language should be meaningful and enjoyable. It is based on eight contemporary German films, all of which are distributed in the U.S. The movies are presented in chronological order and present material of different difficulty and complexity. Thanks to a wide variety of exercises, ranging from the most elementary to the most sophisticated, it is suitable for beginning, intermediate and advanced learners. Each film includes pre-viewing, viewing, and post-viewing activities, which foster vocabulary enhancement, cultural awareness, oral discussion, and essay writing. "German through Film" is an adaptable, ancillary tool geared towards both high school and college instruction as well as towards adult education
Screening the East considers German filmmakers’ responses to unification. In particular, it traces the representation of the East German community in films made since 1989 and considers whether these narratives challenge or reinforce the notion of a separate East German identity. The book identifies and analyses a large number of films, from internationally successful box-office hits, to lesser-known productions, many of which are discussed here for the first time. Providing an insight into the films’ historical and political context, it considers related issues such as stereotyping, racism, regional particularism and the Germans’ confrontation with the past.
In the Beginning: Recollections of Software Pioneers records the stories of computing's past, enabling today's professionals to improve on the realities of yesterday. The stories in this book clearly show that modern concepts, such as data abstraction, modularity, and structured approaches, date much earlier in the field than their appearance in academic literature. These stories help capture the true evolution. The book illustrates human experiences and industry turning points through personal recollections by the pioneers ... people like Barry Boehm, Peter Denning, Watts Humphrey, Frank Land, and a dozen others.
Considers over sixty Hollywood films set in Austria, examining the film industry, the influence of domestic factors on images of a foreign country, and the persistence of clichés. Maria von Trapp, watching the final scene of The Sound of Music for the first time as "her" family escaped into Switzerland, exclaimed, "Don't they know geography in Hollywood? Salzburg does not border on Switzerland!" Hadshe thought about the beginning of the film, which transports viewers to "Salzburg, Austria in the last Golden Days of the Thirties," when the country was in fact suffering from extreme political and social unrest, she might haveasked, "Don't they know history either?" In The Sound of Music as well as in Hollywood's many other "Austria" films, the projections on the screen resemble reflections in a funhouse mirror. Elements of a "real" place with a"real" history inhabited by "real" people can be found in the fractured distortions, which have both drawn from and contributed to the general public's perceptions of the country and its citizens. Austria Made in Hollywood focuses on films set in an identifiable Austria, examining them through the lenses of the historical contexts on both sides of the Atlantic and the prism of the ever-changing domestic film industry. The study chronicles theprotean screen images of Austria and Austrians that set them apart both from European projections of Austria and from Hollywood incarnations of other European nations and nationals. It explores explicit and implicit cultural commentaries on domestic and foreign issues inserted in the Austrian stories while considering the many, sometimes conflicting forces that shaped the films.
Anti-Heimat Cinema: The Jewish Invention of the German Landscape studies an overlooked yet fundamental element of German popular culture in the twentieth century. In tracing Jewish filmmakers’ contemplations of “Heimat”—a provincial German landscape associated with belonging and authenticity—it analyzes their distinctive contribution to the German identity discourse between 1918 and 1968. In its emphasis on rootedness and homogeneity Heimat seemed to challenge the validity and significance of Jewish emancipation. Several acculturation-seeking Jewish artists and intellectuals, however, endeavored to conceive a notion of Heimat that would rather substantiate their belonging. This book considers Jewish filmmakers’ contribution to this endeavor. It shows how they devised the landscapes of the German “Homeland” as Jews, namely, as acculturated “outsiders within.” Through appropriation of generic Heimat imagery, the films discussed in the book integrate criticism of national chauvinism into German mainstream culture from World War I to the Cold War. Consequently, these Jewish filmmakers anticipated the anti-Heimat film of the ensuing decades, and functioned as an uncredited inspiration for the critical New German Cinema.
German Culture through Film: An Introduction to German Cinema is an English-language text that serves equally well in courses on modern German film, in courses on general film studies, in courses that incorporate film as a way to study culture, and as an engaging resource for scholars, students, and devotees of cinema and film history. In its second edition, German Culture through Film expands on the first edition, providing additional chapters with context for understanding the era in which the featured films were produced. Thirty-three notable German films are arranged in seven chronological chapters, spanning key moments in German film history, from the silent era to the present. Each chapter begins with an introduction that focuses on the history and culture surrounding films of the relevant period. Sections within chapters are each devoted to one particular film, providing film credits, a summary of the story, background information, an evaluation, questions and activities to encourage diverse interpretations, a list of related films, and bibliographical information on the films discussed.